TS 570 
.116 
Copy 1 




THE ART 

of the 

BRONZE FOUNDER 



Especially in its relation to the 

casting- of bronze statuary. 

and other sculptural 

work 



BY WILLIAM DONALD MITCHELL 



The pictures of sculptures shown by 
lantern slides in this lecture are ex- 
clusively of work cast in bi'onze by the 
Jno. Williams, Inc. Bronze Foundry 






This lecture in its original form was delivered at Teachers 
College, Columbia University, February 24th, 1913. 

Connecticut State Teachers' Association, High School 
Building, Hartford, Connecticut, October 24th, 1913. 

Connecticut State Teachers' Association, Hillhouse High 
School, New Haven, Connecticut, October 24th, 1913. 

Young Men's Christian Association, Twenty-third Street 
Branch, New York City, March 11th, 1914. 



Revised and printed in 1916. 






/ 



Copyright 1916 

by 

Jno. Williams, Inc. 

New York 

i" 

MAV 15 1916 

PRB6S OF GIBBS & VAN Vl_ECK. tNC. 
NEW YORK 

©CI,A4 3 08 8 9 



Dedicated 
to the memory of 

John Williams 

who founded in 1875 

the business 

which now bears the name 

Jno. Williams, Inc. 



Important work by the following sculptors has been 
cast m bronze by the Jno. Williams, Inc. Bronze Foun- 
dry. Examples are shown in the lantern shdes illustrat- 
ing the lecture, "The Art of the Bronze Founder." 



Adams, Herbert 
AiTKEX, Robert I. 
Amateis, Louis 
Apel, Marie 
Banks, John" Lisney 
Bitter, Karl 
Brenner, Victor D. 
Barnhorn, Clement J. 

BoRGLUM, GlTZON 

Boyle, John J. 
BissELL, George E. 
Bachman, Max 
Butensky", Jules M. 
Brines, John Francis 
Blascjjke, F. R. 
Ball, Caroline Peddle 
CouPER, William 

COPPINI, PoMPEO 

Coltman, Ora 
DiETSCH, C. Percival 
Elwell, Frank E. 
Ettl, John 
Ellerhisen, Ulric H. 
Eimer, Elsa 

French, Daniel Chester 
Fry, Sherry E. 
Frishmuth, Harriet 
Gcdebrod, Louis 
Goddard, Ralph 
Grippe, Karl H. 
Golde, R. p. 
Harvey-, Eli 
Hering, Henry 
Heber, Carl A. 
Hy'att, Anne V. 
Hartley, J. Scott 
Keck, Charles 
Kemets, Edward 
Kitson, H. H. 
Keyser, Ernest Wise 
Kimball, Isabel ^L 
Knight, Charles R. 
Longman, Evelyn B. 
LuKEMAN, Augustus 
Lentelli, Leo 
Lee, Arthur 
Langton, Berenice 



MacCarthy, Hamilton 
^L\cXEIL, Hermon 
McKenzie, R. Tait 
Mears, Helen Farnswop.th 
Morris, Paul Winters 
Manship, Paul 
Miller, Burr C. 
Martiny, Philip 
Mitchell, Guernsey 
Mayer, L. C. 
Miranda, Fernando 
Xeandboss, Sigurd 
Newman, Allen G. 
Xiehaus, Charles Henry 
O'Connor, Andrew 
Packer, F. H. 
Partridge, Wm. Ordway 
Perry, R. Hinton 
Proctor, A. Phimi=ter 
Pratt, George D. 
Parsons, Edith Barretto 
QuiNN. Edmond T. 
Rhind, J. Massey 
Roth, F. G. R. 
ruckstuhl, f. w. 
Ricci, L'lvsses a. 
RiMMER, Dr. William 
Roine, J. E. 
Raul, Harry Lewis 
Recchia, Richard H. 
Salvatore, Victor 
Scudder, Janet 
ScHAAF, Anton 
St. Gaudens. Augustus 
Sahler, Helen 
L'nderhill, Katharine 
Wildenrath, Jenny von 
Ward, J. Q. A. 
Warner, Olin L. 
Weinert, Albert 
Weinman, A. A. 
Weichsel, John- 
Wright, Alice Morgan 
Wright, F. Harrim.vn 
Young, Mahonri 
Yandell, Enid 
Zolnay, George Julian 



In the Art of the Bronze Founder there is a subtle 
charm for the lover of craftsmanship. The finished 
product of his skill strongly impresses the thoughtful 
observer, for the statue or sculptured object in plaster 
or other material, while the embodiment of the sculp- 
tor's genius, lacks something which only the bronze can 
give — the glow of color and feeling of imperishable- 
ness. 



The Art of the Bronze Founder 

ESPECIALLY IN ITS RELATION TO THE CASTING 
OF STATUARY AND OTHER SCULPTURAL WORK 



By William Donald Mitchell 



npHE following lecture was prepared at the suggestion 
of Professor Charles C. Sleffel of Teachers College, 
Columbia University, and was given first before his classes 
in Foundry Practice and Metal Craftsmanship. 

These students and others from schools in New 
York and vicinity where Manual Training is given, 
often visited the Jno. Williams, Inc. foundry to study 
bronze founding under actual working conditions. It 
gave me great pleasure to conduct them through the 
shops and explain the various processes used in pro- 
ducing sculptural and architectural bronze work. 

The lecture was made more interesting by the use 
of lantern slide pictures which showed men at work in 
the various departments of the Jno. Williams, Inc. 
establishment and pictures of bronze castings of sculp- 
tural work by prominent sculptors. 

I regret that in this publication it was not possible 
to reproduce all the pictures. I hope however in a 
future edition to be able to show pictures of all the 
sculptural work which illustrated the lecture. 

With this foreword, 1 shall begin with a very brief 
reference to the history of bronze founding. Necessarily 
brief, for the beginning of the art lies away back in 
that remote period of the earth's history — the days of 
pre-historic man. 

9 



Picture No. 1. 

Emblem of Jno. Williams, Inc., Bronze Foundry. 

(See cover). 

/ Archfeologists tell us that the alloy we call "bronze," 
the combination of the native metals, copper and tin, was 
known and used extensively many centuries ago — in fact 
"in the days when the earth was young." Before that 
time, however, were untold years when primitive man, 
using the first material at hand possessing strength and 
durability, had laboriously fashioned the flinty rocks into 
crude tools and weapons to serve his needs, and this epoch 
in the histoiy of mankind is termed the "Stone Age." 

Then came the discovery of two substances in the 
earth and that these when melted together formed a ma- 
terial immeasurably superior to stone for the making of 
implements of war and of the chase. Because of the 
ease with which this material could be worked, it made 
possible the manufacture of light articles of a decorative 
nature and of objects for personal adornment. Thus the 
discovery of copper and tin — and the resultant alloy 
"bronze" — enabled primitive man to give expression to an 
awakening consciousness of an art sense which lifted him 
above the level of the brute. This was the beginning of 
the world's civilization — in fact, this discovery marks the 
very dawn of authentic history. To distinguish these 
years of progress, due to the discovery and use of bronze, 
from the preceding years of the "Stone Age", historians 
have termed the second epoch the "Age of Bronze." 

It is an interesting fact that there does not seem to 
have been anj^ intervening period of time between the 
"Stone Age" and the "Age of Bronze" when copper was 
used alone. Apparently primitive man leaped at one 
stride from the manufacture of stone implements to the 

10 



/ 



manufacture of articles composed of bronze — a combina- 
tion of copper and tin. These barbarians apparently 
knew from the first that a mixture of 90 per cent, copper 
and 10 pel" cent, tin gave the best results in castings for 
an analysis of the metal in relics of the "Bronze Age" 
that have been found at the bottom of Swiss lakes and 
buried deep in the caverns of Euroj^e invariably shows that 
these jiieces of bronze are composed of approximately 90 
per cent, copper and 10 per cent. tin. Bronze founders 
throughout the ages have used practically these same pro- 
portions for ornamental bronzes. However, since the dis- 
covery of zinc, it was found that this metal added to the 
mixture improved the alloy. Therefore a bronze com- 
posed of copper, zinc and tin has become recognized as 
the standard for bronze statuary and ornamental work.* 






Picture No. 2. 

Primitive Man Engaged in Bronze Founding. 

In Picture No. 2 are shown barbarians in the "Age of 
Bronze" engaged in the casting of bronze. This is a re- 
production of a picture in Ridpath's "History of Man- 
kind." Sucli a scene as this could easily be imagined by 
the artist after a study of the subject and observation of 
relics such as fragments of clay moulds and bronze casts, 
relics of the "bronze age," which may be seen in our 
museums. 

I should like to saj^ right here that while the 
bronze founder of to-day has attained a very high degree 
of skill and produces perfect workmanship in bronze, he 
has not been helped by any modern inventions. This 
work is practically all hand-work and the processes by 
which it is produced are almost identical with those em- 
ployed at the beginning of the historical era. Science has 

*See Page 21. 

11 



had no effect on the art of statuary bronze founding. Our 
ways and methods in the working of bronze do not differ 
greatly from the ways of the earhest known worker in 
bronze and iron, "Tubal-Cain," spoken of in the fourth 
chapter of Genesis as "an instructor of every artificer in 
brass and iron." "Wlien the Bible speaks of "brass" and 
it is mentioned many times, it is generally agreed that 
bronze is the metal meant. 

But I shall go no further into the history of bronze 
and its relation to the progress of civilization of the na- 
tions of the earth. This has all been set forth in the "En- 
cyclopfedia Brittanica" and other reference works and 
you can get full information on this subject by referring 
to these authorities. 

Prior to the year 1847 no bronze statue had been cast 
in this country. In that year a portrait statue of Dr. 
Bowditch by the sculptor, Ball Hughes, was cast, but the 
work was so crude that the family had the statue recast in 
Paris — as is evidenced by the inscription on the existing 
statue "Executed by Ball Hughes, Recast by Gruet, Jne. 
Fondeur, Paris, 1886." 

To the problems of our early sculptors were added 
the vexatious question of getting their work translated 
into bronze. As no professional founders had come to this 
country at that time from the statuary foundries of Eu- 
rope, they were perforce compelled to try to cast the work 
themselves, a formidable task for anyone not trained in 
the art of bronze founding. 

In the year 1846 Henry Kirke Brown modeled a 
group "Indian and Panther" which he himself shortly 
afterward cast in bronze. Lorado Taft in his History of 
American Sculpture speaking of American Sculpture of 

12 



about this period says: "The practical work of bronze 
casting should not be passed over lightly. Up to this point 
we have had no mention of artistic founding except the 
production of Ball Hughes's 'Dr. Bowditch' — the first 
bronze statue created in this country, which was perhaps 
actually antedated by the smaller 'Indian and Panther'. 
That Mr. Brown installed a miniature foundry in his 
studio and successfully carried into the ultimate metal 
many small works speaks volumes for his courage and his 
ingenuity." 

These were the beginnings of the art of statuary 
bronze founding in this country and though a number of 
important works were sent abroad to the cities of Paris 
and Munich to be cast in bronze, it was soon demonstrated 
that here, where the finest copper in the world was to be 
had in unlimited quantities from the mines on the shores of 
our great Lake Superior, castings equal to those made 
abroad could be produced. The man first to prove this 
was the sculptor, Clark Mills. He modeled the first eques- 
trian statue erected in the United States. This is the 
statue of General Andrew Jackson which stands in the 
public square opposite the AMiite House. ^Mien the 
model was completed he undertook to cast this colossal 
equestrian statue in bronze. A rough foundry was con- 
structed near Washington and after various disheartening 
circumstances, the breaking of cranes, the bursting of fur- 
naces, after six failures in the body of the horse, he finally 
triumphed and produced a perfect bronze cast. On Janu- 
ary eighth, 1853, the statue was dedicated. 

Another colossal statue cast l)y Clark Mills was 
Thomas Crawford's statue of "Freedom" which surmounts 
the dome of the Capitol at Washington. The casting of 
this statue was begun in 1860. It was completed and dedi- 
cated in 1863. In passing, permit me to pay tribute to the 

13 



first American bronze founder by quoting this extract 
from the "History of American Sculpture." 

"And let us not forget that this home- 
made sculptor not only designed and 
modeled those enormous creatures, 
(equestrian statues) but actually built 
his own foundry and moulded and cast 
the statues himself. To one who knows 
the difficulties of bronze casting, this 
seems incredible. Verily, there were 
giants in those. days. Whatever we may 
think of Clark Mills the sculptor, we 
owe a debt of gratitude to Clark Mills 
the first professional founder of statu- 
ary." 

Picture No. 3. 

Portrait bust of J. Q. A. Ward, by Charles H. 
Niehaus, Sculptor. Cast by Jno. Williams, Inc. 

A bronze copy of this bust is in the rooms of the 
National Sculpture Society, New York City. 

Picture No. 4. 

Bronze Group "Indian Hunter," by J. Q. A. Ward, 
Sculptor. 

This celebrated group "The Indian Hunter" was 
modeled by J. Q. A. Ward in 1864. A copy in bronze 
cast by Jno. Williams, Inc., was unveiled in Urbana, 
Ohio, June 29th, 1914. I quote from the Monumental 
NewsoiMay 1914: 

"Mrs. John Quincy Adams Ward, the 
widow of the distinguished sculptor, has 
presented to his native city, Urbana, 
Ohio, a replica in bronze of his first 
statue, the "Indian Hunter" which is to 
be unveiled with due ceremonj' June 

14 



29th. the eighty-fourth anniversary of 
his birth, in Oakdale Cemetery. 

The original fio-iire of the "Hunter" is 
in Central Park, New York, one of the 
first statues erected there and there is a 
replica at Cooperstown, New York. 
Like the latter the Urbana statue will 
be mounted upon a huge boulder. 
The first cast in plaster is in the Cor- 
coran Gallery in Washington, D. C, 
and will be used by the bronze founders, 
Jno. Williams, Inc., to whom the 
commission was given for casting the 
statue." 

Picture No. 5. 

Bronze statue of "Henry Ward Beecher." By J. Q. 
A. Ward, Sculptor. 

A bronze copy of the "Henry Ward Beecher" 
statue by .J. Q. A. Ward which stands in front of 
Borough Hall, Borough of Brooklyn, New York, was 
cast in 1914 by .Inc. Williams, Inc. Bronze Foundry 
and erected in the grounds of Amherst College. 



The United States Government gave a great impetus 
to the advance of sculptural art when it ordered sculp- 
tured bronze doors for the National Capitol. The sculp- 
tors chosen to do this work were Thomas Crawford and 
Randolph Rogers. 

Lorado Taft in his "History of American Sculpture" 
says of these doors, "Few American sculptures have had 
greater fame than these doors. Admired from the be- 
ginning, they had the advantage of narrative form and 
abundant detail and their renown has gained momentum 
with the years." The Rogers' doors were finished first. 
He modeled them in Rome, Italy and they were cast in 
1861 in Munich, Germany. The Crawford doors, which 

15 



I believe were cast in this country, were not hung until 
1868. The third and last pair of bronze doors for the 
Main entrance to the Capitol at Washington, shown in 
picture No. 6, were ordered by the Government only a 
few years ago. The order was given to Louis Aniateis, 
a sculptor who lived in Washington. These doors were 
cast in 1910. Thus after a lapse of over forty years, all 
three entrances to the Capitol are provided with sculp- 
tured bronze doors. 

Picture No. 6. 

Bronze Doors, Western Entrance of the Capitol. 
By Louis Aniateis, Sculptor. 

I have spoken briefly of the beginnings of the art of 
bronze founding in this country — the reproduction of 
sculptors' models by the art of bronze casting. I believe 
that the pictures of sculpture which were used to illustrate 
this lecture show clearly the wonderful progress made by 
the sculptors of this country in the short span of one life- 
time. I am proud to be able to show you these pieces of 
sculpture, the work of American artists, for they are ad- 
mittedly equal to the best that has been done in foreign 
countries — where the sculptors have a rich inheritance of 
art objects and an inborn love of art which has come down 
to them through countless generations of artists. 

The first great stimulus to American Sculptural Art 
was given by the Centennial Exhibition at Philadelphia in 
1876. This caused an awakening to the fact that we were, 
at that time, so far as sculpture was concerned — "in swad- 
dling clothes." But statues of the greatest sculjitural 
merit were beginning to appear. Certainly this country 
had had a glorious history and there were many subjects 
waiting for the hand of the sculptor. One of the first of 
the great statues produced was "The Minute Man of Con- 
cord." 

16 



Picture No. 7. 

"The Minute Man of Concord." By Daniel Chester 
French, Sculptor. 

The statue, "The Minute Man of Concord" was 
erected in Concord, Massachusetts and dedicated April 
19th, 1875. It was modeled by Daniel Chester French, 
who was then only twenty- three years of age and just on 
the threshold of his career. Many copies of the 
"Minute Man of Concord" in statuette form have been 
east in bronze by Jno. Williams, Inc. 

Picture No. 8. 

A View in the Jno. Williams, Inc. Bronze Foundry. 

Since the days of the bronze founders in the "Age of 
Bronze" thousands of years have elapsed, yet to-day you 
can see men in bronze foundries using the same methods 
and practically the same alloy as were used by the 
barbarians of the "Bronze Age" shown in a previous 
picture. 

Perhaps it will interest you to know that the Jno. 
Williams, Inc. Bronze Foundry was started in 1875 by 
John Williams under whose name the business was carried 
on until incorporated in 1905. Most of the time there are 
employed five hundred bronze-workers and foundrymen. 
People visiting this establishment for the first time ex- 
press astonishment that a foundry producing colossal 
bronze statuary exists practically in the heart of New 
York City. But it was far from the heart of the city 
forty years ago and the time is rapidly approaching when 
this and all other similar businesses will have to remove 
to the suburbs owing to the tremendous increase in land 
values in New York. 

17 



In Picture No. 8 is shown a large mould in which 
will be cast one "valve" or "leaf" of the sculptured doors 
for the Boston Public Library. (A picture of the fin- 
ished bronze doors will shortly be shown). This mould 
though a very large one is what is called a "simple two- 
piece mould." The modeling on the door being in low 
relief, without "undercutting" permits the mould to be 
made in two parts. The impress of the back of the door 
is in the sand in one of these parts and the impress of the 
modeled face of the door is in the other part. You can 
see the matrix of the modeled face of the door in the sand. 
The plaster model of the door from which the imprint in 
the sand has been gotten is standing against the wall. 
The large iron frames which surround and hold the sand 
are called "flasks." 

The sand used for statuary bronze moulding 
comes from a sand-pit which is situated in a little village 
on the outskirts of the City of Paris in France. For that 
reason it is called "French Sand." Though called "sand" 
by the foundryman, as a matter of fact it closely resembles 
a mixtui'e of sand and clay. It can be used just as it 
comes from the sand-pit although of course it must be 
finely sieved. No other sand like this has ever been found 
in the world. You may be sure that many people have 
looked all over the world for similar sand, for as new sand 
must be continually used in the moulds, a very 
great deal is used and if another sand-pit could be found 
it would be a little "gold mine" for the o^vner. This sand 
because of its peculiar properties makes it possible to ob- 
tain a mould that will reproduce with marvelous fidelity, 
the finest lines and markings that appear on the sculptor's 
model. 

18 




I'icture \(i. S 

\ iru ill ,liii>. Williams, Inc.. Bnni/.t' Fdiiiuiry. 

Sllowiiii; |iri'|)aral 11)11 (it iiuiuUl in uliuli mil lie cast cult' 

valve of the (ioor toi- tlie central |iiiital cil' 

the IJostim l'ul)lic Libiarv. 




Pictme No. 

\ iew in the Jno. Williams, Inc., Bron/e FoundiT. 

Shnwiiij;- tlie poiiriiiu- of a large nioulcl. This bronze east will 

form one of the bronze doors of the 

Boston Fublie Library. 



Picture No, 9. 

View in Foundry. Pouring Molten Bronze into a 
Large Mould. 

The pouring of a large mould is shown in Picture 
No. 9. This cast will form one of the bronze doors of the 
Boston Public Library. 

The iron frames, forming the "flask" have been bolted 
together, holding the sand-mould firmly in place ready for 
the molten metal to be poured therein. If the casting is 
a large one a gi-eat many pounds of molten metal must be 
poured all at one time. It is not possible to fill the mould 
by pouring the contents of the crucibles one at a time into 
the mould. But the difl^culty is gotten over in a very 
simple manner. You will observe on top of the mould a 
sort of basin. This basin is made of iron frames lined 
with moulding sand and fire-clay. It is large enough to 
hold all the bronze required to cast the statue or whatever 
cast is to be made. The basin is placed directly over the 
feeding channel of the mould. Into a hole in the bottom 
of the l)asin a plug made of iron covered with sand and 
fire-clay has been fitted. The end of the plug extends 
beyond the top of the basin. Allien the crucibles are 
emptied one after the other into the basin, this forms a 
seething lake of molten bronze. The fovmdrymen then 
grasp the end of the plug and pull it out and the liquid 
bronze rushes through the feeding channels which lead 
to all parts of the mould, filling all parts of it at prac- 
tically the same instant. All surplus metal, like water 
seeking its level, ascends vertical channels, called "risers" 
which have been cut in the sand for that purpose and when 
this surplus metal appears at the top of these channels, it 
is a sign that every part of the mould has been filled and 
that it is likely the cast is a perfect one, but of this no man 
can tell until all of the sand which envelops the cast has 
been removed. After the mould has cooled, the cast is 

19 



dug out of the burnt sand and the metal which filled the 
feeding cliannels is cut away from the cast. The cast is 
then placed in an acid bath which removes all adhering 
sand and fire-discolorations. It is then ready for the 
various processes which I will soon describe. 

The molten bronze when poured into the moulds gives 
off a great quantity of dense fumes and richly colored 
vapors and these with the glow and the glare from the 
streams of molten metal make a beautiful picture especially 
on a dark day when the shadowj' forms of the workmen 
can be seen but dimly through the smoke-laden air. 

Picture No. 10. 

Bronze Doors in the Boston Public Library. By 
Daniel Chester French, Sculptor. 

One of the three sets of bronze doors in the Main 
Entrance of the Boston Public Library is shown in Pic- 
ture No. 10. These doors were a notable addition to the 
sculptural art of this country. They are the work of one 
of the foremost of our American sculptors, Daniel Chester 
French. Mr. French's work on the models for these doors 
extended over a period of twelve years. It was not until 
the models of all three were completed that he permitted 
the Jno. Williams, Inc. foundry to go ahead with the 
casting of the doors in bronze. 

Each door is composed of two valves or "leaves" as 
they are often called. ^Vhen the two valves swing to- 
gether, they form apparently one large panel. This is 
an unique feature in double doors such as these, for double 
doors usually have a meeting bar in the center called a 
"stile" in architectural terms. These bronze doors are 
swung on pivots, hinges would not carry their gi'eat 
weight. They are hung so skillfully that despite the fact 
that each "valve" weighs one thousand, four hundred 
pounds, the pressure of a hand is sufficient to swing them 
to and fro. 

20 



Picture No. 11. 

Bronze Doors of Congressional Library, Washing- 
ton, D. C. by Olin L. AVarner, Sculptor. Erected 
December, 1896. 

Picture No. 12. 

Bronze Doors of Congressional Lilirary, Washing- 
ton, D. C. by Herbert Adams, Sculptor. Erected 
January, 1898. 

Two of the three sets of bronze doors for the Main 
Entrance of the Congressional Library at Washington 
were ordered l)y the United States Government from the 
sculptor Olin L. Warner. He lived to complete the first 
door only "Tradition" and the second door "Written 
History" was modeled by Herbert Adams. 

The Jno. Williams Inc. Bronze Foundry was selected 
by the United States Government to cast these doors. In 
the contract the Government specified that the alloy to 
be used should consist of 90 parts copper, 7 parts zinc 
and 3 parts tin. Thereafter the Jno. Williams, Inc. 
Foundry adopted this as a standard alloy for sculptural 
castings terming it in their specifications for sculptural 
castings, "statuary bronze of standard fixed by the United 
States Govermiient." 

The third sculptured bronze door for the Congres- 
sional Library was the work of Frederick MacMonnies. 
It was cast in Paris. I am glad to say that experts pro- 
nounced the bronze casting and workmanship in the 
American doors greatly superior to that of the doors cast 
in France. 

Picture No. 13. 

View in Foundry of Jno. Williams, Inc. Showing 
Foundrymen Lifting Crucibles from the Furnaces. 

21 



The crucibles full of molten bronze are lifted from 
the furnaces by means of large tongs. The small cruci- 
bles which hold about one hundred pounds each are lifted 
by "man-power" in the old-fashioned way. The larger 
crucibles, shown in the picture, each hold four hundred 
pounds and these are lifted by compressed air power or 
by chain blocks. These crucibles are made mainly of 
graphite, sometimes called "plumbago" and again "black 
lead." The life of a crucible averages about twenty 
meltings. 

Picture No. 14. 

Another View in Foundry Showing Men Lifting 
Crucibles from the Melting Furnaces. 

Picture No. 15. 

Pouring Metal in Small Moulds. 

The pouring of molten metal in small moulds is 
shown in Picture No. 15. The crucibles are carried from 
the melting furnaces in iron holders. The man with the 
iron bar is skimming off the dross which rises to the top 
of the molten metal. He notes the degree of fluidity of 
the metal by the color. If a dull red, the metal is too cold 
and sluggish to pour. If a white heat, then it is too 
"thin", too "fluid" and either extreme would result in a 
bad casting. The foundrymen must know when the metal 
is exactly "right" for pouring. Their good judgment 
and skill in these matters is simply the result of long prac- 
tice which trains the eye and the hand, — and mistakes are 
seldom made. 

Picture No. 16. 

Bronze portrait bust of "Gordon Taylor" by Marie 
Apel, Sculptor. 

22 




Hictiirt' Nil. 1 .S 

\ ii-w in tiniiuii'v nf ,Iiu>. Willi.iiiis, Inc. 

Sliiiwiny Foundi'vint'ii liftin}; CniclliK's tidin 
tile furnaces. 




Picture No. U 

\'ie\v in f'iniii<lry of Jno. Williams, Inc. 

Slidwinii men lifting Crucihles from the t'ln-naces. 




I'irtine No. 1 .1 

\'ie\\' iti riiinuliv nl' Jiki. Willi.niis, Inc. 

Sluiwiiii:' tuuiiilrv inrn pouring 
l)riin/f 111 Mii.ill iiicHiliis, 




I'icture No. 17 

Brim/e I'di-trait Hiist <it' Robert Fulton. 

By Jean Antoiiie Houdon, Sculptor. 



lit- produced in bronze 

by ,l]io. W'illi.inis, Inc., Bronze Foundry 

from oriiiinal east owned by the 

N;ition;il Ae;ideni\' of Design. 



Picture No. 17. 

Bronze Portrait Bust of "Robert Fulton." By Jean 
Antoine Houdon, Sculptor. 

The bust of Robert Fulton, shown in Picture No. 17, 
was modeled from life by the great French sculptor, 
Jean Antoine Houdon. The original cast is owned by 
the National Academy of Design. 

Duplicates in bronze wei-e ordered from Jno. Wil- 
liams, Inc. for the Metropolitan Museum of Art. 

National Academy of Design, 

New York Historical Society 

(Presented by the Colonial Dames of America) 
College of the City of New York. 
New York University 

(Unveiled in Hall of Fame, University Heights, Sept. 
29, 1909) 

American Numismatic Society, 

Geographical Society, 

and the Hudson River Day Line Company for the Steam- 
boat, "Robert Fulton." 



I will now describe how bronze statuary is cast. This 
is a much more complicated process than casting flat re- 
lief work for in statuary the contours of the surfaces are 
irregular, forming luidercuts. Undercuts are the deep 
parts in the modehng with overhanging projections. I 
call your attention to the undercuts in the bust of "Ful- 
ton", (Picture No. 17) under the collar, in the cravat, in 
the eyes, etc., etc. Therefore in statuary moulding as we 
cannot lift the model from the sand, which we do in plain 
moulding, we must lift the sand from the model and this 
is accomplished by packing the sand around the model in 
small separate "blocks" or sections. These sand blocks 
are called "cores" hence a statuary bronze moulder is 
called a "core moulder." The method is illustrated in the 
charts on the next two pages. 

23 



CHART No. 1. 



gr— 






<! 



I 



I 



I 

i 
I 







A 



Copyright 1915 by 

Jno. Williams, Inc., New York 



"A" — Iron frames called "tlasks." 

"B" — Sculptor's plaster model of a portrait bust. 

"D" — Separate blocks of moulding sand called "cores." They 

have been packed one by one around the model. 
"H" — Outer sand backing or outer envelope of the mould. 



24 



CHART No. 2. 




Copyright 1915 by 

Jno. Williams, Inc.. New York 



"A"- 
"C"- 

"D" 

"E" 

"G" 

"H" 



Iron frames called "Hasks." 

- Vents in mould for the escape of gases generated by 
contact of molten metal with the sand. 

-Separate blocks of moulding sand called "cores." They 
have been packed one by one around the model. 

-Inner sand core. ,, 

-Iron bars which support the inner sand core "K. 

-Feeding channels through which the molten metal is 
carried to all parts of the mould (shown in red). 

-Outer sand backing or outer envelope of the mould. 

- Space between inner sand core and the mould when filled 
with molten bronze (shown in red) forms the bronze cast. 

25 



Picture No. 18. 

Charts Nos. 1 and 2. Showing Method of Making 
Sand Moulds for Casting Bronze Statuary. 

(See Pages Nos. 24 and 25). 

The plaster model "B" in Chart No. 1 is a portrait 
bust. It will be completely surrounded by separate 
blocks of sand called "cores", ("D" on Charts Nos. 1 and 
2) . A description of the charts follows : 

"A" shown in Charts Nos. 1 and 2 are the iron frames 
called "flasks." 

"B" shown in Chart No. 1 is the sculptor's plaster 
model. 

"C" shown in Chart No. 2 are the vents in the mould 
for the escape of gases generated by contact of molten 
metal with the sand. 

"D" shown in Charts 1 and 2 are the separate blocks 
of moulding sand called "cores." They have been packed 
one by one around the model. 

Then they are removed from the model in the reverse 
order in which they were made. Then dried in an oven 
and re-assembled. But of course the plaster model has 
been removed from the mould. We now have a complete 
matrix in which the inner sand "core" is supported by 
iron bars (See "F" Chart No. 2). 

The inner sand core ("E" in Chart No. 2) is sus- 
pended in the mould by the iron bars "F." The space be- 
tween the inner sand core and the mould when filled with 
molten bronze (shown in red — see "I" in Chart No. 2) 
forms the bronze cast. The bronze cast now surrounds 
the imier sand core which is afterward dug out — and by 
this method a hollow bronze cast is obtained. 

The feeding channels through which the molten metal 
is carried to all parts of the mould are also shown in red 
(See "G" in Chart No. 2). 

26 



"H" shown in Charts 1 and 2 indicates the outer 
backing or outer envelope of the mould. This is com- 
posed of a cheaper, coarser sand than the French sand 
used for the cores. 

It is not commonly known that statues, busts, etc. 
are always cast hollow. Some people think that a bust 
or statue is solid (like a marble statue). As a matter of 
fact, a successful bronze cast of a sculptured model could 
not be made unless the metal was kept to a thickness of 
from one-quarter of an inch to three-eighths of an inch. 
You can readily understand that a thin shell of metal will 
cool and set immediately it fills the mould. An excessive 
thickness of metal neither makes the casting stronger nor 
adds to its durability. If there was too great a thick- 
ness of metal it would not harden or set for a considerable 
time and in the slow cooling, would set up strains and 
shrinkages which would disturb the surfaces of the mould 
to such an extent that a great deal of the fine detail of the 
model would be lost and the cast would be worthless. 

Picture No. 19. 

Bronze Bust of "Dr. William T. C. Morton" by 
Helen Farnsworth Mears, Sculptor. 

Picture No. 20. 

Bronze Statue of "Abraham Lincoln" by Daniel 
Chester French, Sculptor. Erected on monument in 
Lincoln, Nebraska. 

Pictiu-e No. 21. 

Bronze Statue of "Alma Mater" by Daniel Chester 
French, Sculptor. Erected in front of Columbia 
University Library, New York City. 

Picture No. 22. 

Bronze Statue of "Wendell Philhps" by Daniel 
Chester French, Sculptor. Erected in Boston, Mass. 

27 



Picture No. 23. 

Bronze Group, "Lioness and Cubs" by Edward 
Kemeys, Sculptor. 

Picture No. 24. 

Bronze Statue, "Scraper" by Charles Henry Nie- 
haus. Sculptor. Placed in the Metropolitan 
Museum of Art, New York City. 

Picture No. 25. 

Bronze Statue "Commodore Perry" by Charles H. 
Niehaus, Sculptor, Erected on "Pei'ry" Monument 
in Buffalo, New York. 

Picture No. 26. 

Bronze Statue on Straus Memorial Fountain by 
Augustus Lukeman, Sculptor. Erected in Straus 
Park, Broadway and 106th Street, New York City. 

Picture No. 27. 

Bronze Group on Monument to "Women of the Con- 
federacy" by Augustus Lukeman, Sculptor. Erect- 
ed in Raleigh, N. C. June 1914. 

Picture No. 28. 

Bronze Equestrian Statue, "Kit Carson" by 
Augustus Lukeman and F. G. R. Roth, Sculptors, 
Erected in Trinidad, Colorado. 

Picture No. 29. 

Bronze Equestrian Statue "General Franz Sigel" by 
Karl Bitter, Sculptor. Erected on Riverside Drive 
and 116th Street, New York. 

Picture No. 30. 

Bronze Equestrian Statue, "Terry Ranger" by 
Pompeo Coppini, Sculptor. Erected in Austin, 
Texas. 

28 



Picture No. 31. 

Bronze Equestrian Statue, "General Phil Sheridan" 
by J. Q. A. Ward, Sculptor. Erected in Albany, 
New York. 

Picture No. 32. 

Bronze Statue "Carl Schurz" by Karl Bitter, Sculp- 
tor. Erected at Morningside Drive and 116th 
Street, New York City. 

Picture No. 83. 

Bronze Statue, "Andrew D. White" by Karl Bitter, 
Sculptor. Erected at Cornell University, Ithaca, 
N. Y. 

Picture No. 34. 

Bronze Doors, New Library Building, Wellesley 
College, Wellesley, Mass. By Evelyn B. Longman, 
Sculptor. 

Picture No. 35. 

Bronze Statue "A. J. Cassatt" by A. A. Weinman, 
Sculptor. Erected in Pennsylvania Railroad Sta- 
tion, New York. 

Picture No. 36. 

Bronze Statue, "Chief Justice Ruffin" by F. H. 
Packer, Sculptor. Erected in Loggia of Entrance 
of the New Supreme Court Building in Raleigh, 
N. C. 

Picture No. 37. 

Bronze Statue, "General Ord" by Anton Schaaf, 
Sculptor. Erected in Vicksburg National Military 
Park, Vicksburg, Mississippi. 

29 



Picture No. 38. 

Bronze Statue "Victory" by Robert I. Aitken, 
Sculptor. 

The colossal statue of "Victory" by Robert I. Aitken, 
Sculptor, surmounts the Manila Battle Monument in 
Union Square, San Francisco. It measures 14 feet high 
and weighs over 3,000 pounds. 

Picture No. 39. 

Colossal Bronze Statue of Samuel de Champlain. 
By Hamilton MacCarthy, Sculptor. 

The statue of Samuel de Champlain shown in Picture 
No. 39 was erected in Ottawa, Canada. It measures 
nearly thirteen feet in height and weighs over 3,000 
pounds. 

Picture No. 40. 

Bronze Relief Panel, "Leander Howard Crall" 
Memorial. By Paul Winters Morris, Sculptor. 

Picture No. 40 shows a large bronze panel, the sub- 
ject of which is the Baptism of Christ. This is part of a 
memorial, by Paul Winters Morris, erected in Holy 
Trinity Church, New York City in memory of Leander 
Howard Crall. The memorial, complete, consists of a 
marble platform and baptismal font and the bronze bas- 
relief panel. The bronze panel measures fourteen feet 
high by six feet eight inches wide and weighs 2,550 
pounds. It was cast in one piece by Jno. Williams, Inc. 
Bronze Foundry, New York. 

Picture No. 41. 

Bronze Portrait Bas-relief "Dr. Robert Collyer." 
By Henry Hering, Sculptor. Erected in the 
Church of the Messiah, New York City. 

30 



Picture No. 42. 

Allen G. Newman's Colossal Sculpture Entitled, 
"The Triumph of Peace." 

This monument was erected in Atlanta, Georgia, by 
the Gate City Guard of Atlanta. It commemorates the 
ending of the war between the North and the South. 

Picture No. 4.3. 

Bronze Group on Monument, "Women of the Con- 
federacy" by Allen G. Newman, Sculptor. Erected 
in Jacksonville, Florida. 

Picture No. 44. 

Bronze Grille Entrance Doors, Richard M. Hunt, 
Architect. 

Large cast bronze grille entrance doors for 
a residence in Newport, Rhode Island, are shown 
in Picture 44. The doors measure 22 feet wide and 
14 feet high. They were designed by Richard M. Hunt, 
one of our great Ajiierican architects. These doors were 
made by the Jno. Williams foundry in 1892, at a cost of 
$50,000.00. ^\nien they were erected, newspaper articles 
were published severely criticising the spending of so 
great an amount of money — "merely for the front doors 
of a luxurious dwelling." But this was very foolish criti- 
cism for of this $50,000.00 at least $45,000.00 went into 
the pockets of artists and artisans. I believe it is a most 
commendable thing that people of great wealth should by 
the lavish expenditure of money encourage the produc- 
tion of works of art and craftsmanship and thus give to 
the American artist and artisan the opportunity to show 
that they have in them the ability to produce work equal to 
the great examples of Greek, Roman and Florentine art. 

31 



I will now describe briefly and as nearly as possible 
in their proper order the various departments of the Jno. 
Williams, Inc. Establishment: 

I will mention the "Draughting Department" first 
for to start the architectural bronze work, the very first 
requirements are full-size working drawings. The pat- 
terns which are required for this work are made in the 
"Wood Pattern Department." There is also a depart- 
ment where plain plaster patterns are made. If however 
the patterns are required to be ornamented with archi- 
tectural ornament, this work is done best by modelers 
of architectural ornament who have their own shops. 

Picture No. 45. 

View in Foundry of Jno. Williams, Inc., Showing 
Pattern Makers at Work. 

This picture shows men making wood patterns for 
inscription tablets and architectural bronze work. 

Picture No. 46. 

View in the Foundry Showing Men at Work on 
Large Moulds. 

The moulds shown in Picture No. 46 are for large 
castings of ornamental design for architectural work. 
Note the overhead traveling crane for lifting and carry- 
ing moulds from one end of the foundry to the other. I 
must admit that our ancestors, the foundrymen of the 
"Bronze Age" had to get along without the aid of this 
powerful mechanical device. 

Picture No. 47. 

View in Foundry Showing Men Engaged on Moulds 
for Large Grilles. 

32 




Picture Nii. 4.i 

View III touiulry »( .lud. Willi;iin>, Inc. 

Showing Pattern M.-ikcis .it work. 




Pietiiie Nu. l-ci 

View in foundry cil' .Ino. Williams, Ini 

Shnwiny- men at wiirk cui large nioiilils. 




I'ictiire Ni). +7 

\ iew in tiiunilry ut .Iiio, VN'illiains. Inc. 

Sliowini;- iiit-n .'it unrk uii l^lHllll^ for l.ii'j;i- grilles. 




I'ullIlT Nn. l.s 

N'iew ill toimdiv o\' Jnci. Williams, Iiir. 

Sliiiwiiiy iiu-u at work on Miiall plain inoulils. 









Picturt- No. Ml 

View in fouiuliy of ,lno. WilH.uns, Inc. 

Showing tini.slifil nioiiUlN- 




I'ictui-f No. 50 

\'i,» m foundry of .Ino. VVilli.inis. Inc-. 

Show in^- '■lul>-nioul(lt'i-"" .it work. 




Fictme No. 51 
\'ie\v in '"CliMsinj;' l)e|iaitineiit"' in 
.Ino. \\'illiaiiis. Inc., Bronze Found iv 




I'icture No. 5'2 

\'iew in C'liasinj;' I)e])artnnr-nt' 

Siiouinn' Filers at woik. 




Picture No. :>'A 

\'ii\\ ill "FittiiiK Df|iaiinunt" 

.Inci. Willi.uns, Iiu-. 



I'u'liiif No. .U 

"Fitters" at work i>ii Brcuize Dciine 

tor Armour M.hisoIi'uili. 





I'icturt- No. ri:'i 

Armour Mausoleuiu. 

Heiiwiek, As|)iinv.ill iV Owen, Arcliitects. 

Sliovvinj; cast bronze tlomc 

m.ule by Jno. Williams, Inc. 




I'ictiire No. o() 

View in touiuii'v ot Jiio. William^, Inc. 

Sliouinj;' nietliod dt' joiniiij; brcmze 

l)v 'Bra/.ino;'" 




HictiirL' Ni). 57 

View in fViundry of Jno. Williams, Inc. 

Showing bronzer" at work prodiK-ing ccjlors on 

bronze b} the application of chemicals 

and heat. 



The bronze casting of one-half of the grille is shown 
in Picture 47 at the right. The impression for the other 
half can be seen in the mould. 

Picture No. 48. 

View in Foundry of Jno. Williams, Inc. "Men at 
Work on Plain Moulds." 

Picture No. 49. 

View in Foundry Showing Finished Moulds. 

Small two-piece moulds are shown in Picture No. 49. 
These moulds are ready to be clamped together and the 
metal poured therein. 

Picture No. 50. 

View in Foundry. 

The view in the foundry shown in Picture No. 50 
shows a man working at a moulding tub. He is called a 
"tub-moulder." He is tapping the pattern in the sand so 
that it may be loosened and easily lifted out. It is in- 
teresting to observe the distinct divisions in all these 
trades. A "tub-moulder" might work all his life within a 
few feet of a "Hoor- moulder" (a "floor- moulder" makes 
large moulds on the floor of the foundry) yet neither one 
could do the work of the other and these men seemingly 
have no aptitude for learning "statuary moulding" which 
is the highest branch of foundry work. The statuary 
moulder is the "king-pin" of moulders and commands 
the highest wages. 

Picture No. 51. 

View in the Chasing Department. 

In Picture No. 51 are shown men called "chasers" 
and "filers" who remove any excrescenses or seams which 
may be on the casts and file away the rough "bm-r." 

33 



The chasers who work on castings from sculptors' 
models are specially trained, for as the surfaces on bronze 
easts from sculptors' models are the individual work of 
the artist, gi'eat care must be taken by the chaser not to 
change line or plane of the cast in the slightest degree. 

Picture No. 52. 

Another View in "Chasing Department" showing 
Filers at work. 

Picture No. 53. 

View in the "Fitting Department." 

The men employed in the "Fitting Department" are 
called "Fitters," because they fit together all separate 
parts of the work. This requires mechanical ability of a 
high order. The parts when carefully fitted, are bolted 
and screwed together and sometimes are joined by fusing. 
This is called "brazing." A picture of men brazing will 
follow. 

Picture No. 54. 

Bronze Dome for Armour INIausolemn. Renwick, 
Aspinwall and Owen, Architects. 

Picture No. 54 shows the great bronze dome for the 
"Armour" Mausoleum in the course of construction. 
The workmen are "fitters." They are fitting the bronze 
bars on which in turn there will be fitted large cast bronze 
plates of "fish scale" pattern. The total weight of bronze 
in the dome is 16 tons and the cost $25,000.00. 

Picture No. 55. 

Armour Mausoleiun. 

The completed cast bronze dome on the Armour 
Mausoleum is shown in Picture No. 55. This mausoleum 
was designed by the architects, Renwick, Aspinwall and 
Owen. 

34 



Picture No. 56. 

Brazing Bronze. 

Joining bronze by soldering is called "brazing." The 
bronze parts to be soldered are wired together and small 
bits of a special bronze alloy are placed on the joint. A 
bunsen gas flame under air pressure is then directed on the 
work. (The men in the picture are at this point in the 
operation). The pieces to be brazed are heated nearly to 
melting point. The small bits of solder melt first and 
run into the joint thus fusing the two parts together. An- 
other instant and tlie entire work woidd have melted into 
a shapeless mass. 

Ornamental bronze work for the interior of buildings 
is given a coating of transparent lacquer which preserves 
the polish and finish for a number of years. Without this 
protective covering, the bronze work would turn dark in a 
very short time. 

Lacquer, however, is not used to protect the surfaces of 
bronze statuary or other bronze work exposed to the 
weather for there is no lacquer which will stand the action 
of the weather. 

New bronze statuary for out-of-doors is oxidized 
with chemicals so that the glaring appearance of the new 
metal is subdued, then if kept free from dirt and grime by 
the application of a soft cloth, dampened with oil, (prefer- 
ably olive oil) the color of the bronze will deepen and grow 
rich and mellow with time. The bronze statues in our 
cities, however are usually neglected and become covered 
with a deposit of soot and dirt and often present a very 
disreputable appearance. It should be the duty of the city 
authorities to have the monumental bronze sculptures kept 
in good condition by expert bronzers. 

35 



Picture No. 57. 

Producing a Color on Bronze by the Application of 
Acids and Chemicals. 

I wish to call your attention to a wonderful property 
that bronze possesses that no other material or substance 
possesses so far as I know. I mean the peculiarity of 
bronze taking on beautiful colors when subjected to the 
action of chemicals. Now you know the color of gold 
never changes. Silver will oxidize black but chemicals 
will not cause permanent colors to appear on silver. If 
you apply acids or any chemical or even water to iron, 
there is just one result, a red rust. 

But the surface of bronze reacts to chemicals applied 
in a certain manner as an autumn leaf does to the frost. 
Skilled worlvmen called "Bronzers" easily obtain colors 
which are as beautiful as those seen on the bronze works 
of art of antiquity. The color on ancient bronzes is 
called "patina" which means the color or incrustation 
which age gives to bronze works of art, but the word 
"patina" is now generally used to describe the color on 
modern bronze sculptures. 

People have said to me that they always thought 
bronze was the same color as the surface color "all the way 
through." 

This was a very natural mistake, for it is not often 
that one sees the natural gold color of bronze and it is 
easily understood why people should suppose that the 
dark bronze they saw was the same color all the way 
through. Newly minted pemiies show the bright golden 
color of bronze, but the action of the air and the acid in 
the sweat of the hands soon oxidizes the pennies to a dark 
yellowish color. The color on bronze is an oxidization 
of the surface only. It is a fikn of color on the surface of 
the bronze but is also a part of the bronze itself, — like the 

36 



color on the surface of a piece of glazed pottery. Now 
this oxidization on the surface of the bi'onze does not con- 
tinue eating into the metal until the metal is entirely con- 
smned, as the rust of iron does, but the surface of the 
bronze having become colored it goes no deeper and no 
matter how many years roll by, yes, or centuries, the 
glowing golden color of the bronze will show if the 
surface is abraded or scratched. Thus bronze being prac- 
tically everlasting, is sometimes called "the eternal 
metai." 

I have in the safe in my office a little bronze statuette, 
or what is called a "figm-ine," which was found buried with 
a mummy in Egypt. Egyptologists tell me that this 
statuette dates back hundreds of years before Christ and 
that the munmiy was that of a royal personage. How- 
ever what interests me particularly is the fact that the col- 
oring of the bronze is a beautiful green — not uniform but 
full of beautiful gradations of color. The high points of 
the modeling in the statuette having been rubbed by hand- 
ling, the bronze metal is revealed as bright and gleaming 
as the day when the Eg^'ptian bronze founder poured it 
into the mould many centuries ago. 

Picture No. 58. 

Memorial Tablet Cast from Bronze Recovered from 
the Wreck of the Battleship "Maine." 

^Vhen the wi'eck of the battleship "Maine" was 
raised in Havana harbor it was suggested by Commander 
R. H. Leigh, that the bronze metal recovered from the 
wreck be used to cast tablets which would form memorials 
of the ill-fated battleship. 

The idea was carried out by the Navy Department. 
A design by Charles Keck, Sculptor, was adopted by the 
Government and Jno. Williams, Inc. Bronze Foundry 
selected to cast the tablets. Over twelve tons of this 

37 



"Maine" metal was sent to the foundry, a quantity suf- 
ficient to cast over 2000 of the "Maine" Memorial tablets. 

Applications for these tablets should be made to the 
Secretary of the Navy, at Washington, D. C. 

Picture No. 59. 

Bronze Fountain Group, "Pan and the Spirit of 
Music." For Schenley Fountain, Pittsburgh, Penn- 
sylvania. By Victor D. Brenner, Sculptor. 

Many of Mr. Brenner's beautiful bas-reUef portraits 
have been cast in bronze by the Jno. Williams, Inc. 
foundry. 

Picture No. 60. 

The Famous Bas-relief Portrait of Robert Louis 
Stevenson. Modeled from Life by Augustus St. 
Gaudens. 

Picture No. 61. 

A Bronze Memorial to the "Bandsmen of the 
Titanic." Erected in New York City. Modeled by 
Albert Weinert. 

Picture No. 62. 

Bronze Panel with Bas-relief Portraits of Mr. and 
JNIrs. Isidor Straus who were lost in the "Titanic" 
Disaster. This Tablet was Modeled by Louis 
Lentelli. 

Picture No. 63. 

Bronze "Seal of the City of New York," By Paul 
JVLanshijj, Sculptor. 



38 



Picture No. 64. 

Stork Fountain by Philip Martiny. Erected on the 
Estate of H. H. Rogers, Southampton, L. I. 

Picture No. 65. 

Bronze Memorial Tablet with Portraits of "Wilkes" 
and "Barre" by Burr C. Miller, Sculptor. Erected 
in Public Square, Wilkes-Barre, Penna. 

Picture No. 66. 

Bronze Bas-relief Portrait of "General Naegle" by 
R. Tait McKenzie, Sculptor. 

Picture No. 67. 

Bronze Bust, "Warren Easton" by Hermon Mac- 
Neil, Sculptor. Erected in New Orleans, Louisiana. 

Picture No. 68. 

Bronze Memorial Tablet to "Laura M. Starin" by 
George E. Bissell, Sculptor. Erected in Reformed 
Church, Fultonville, N. Y. 

Picture No. 69. 

Bronze Memorial Tablet, "Emma Louis Schmid- 
lapp" by Clement J. Barnhorn, Sculptor. Erected 
in Cincinnati, Ohio. 

Picture No. 70. 

Bronze Bas-relief "Robert Louis Stevenson" by 
Gutzon Borglum. Sculptor. Erected in "Baker" 
Cottage, Saranac Lake, New York. 

Picture No. 71. 

Bronze Bas-relief Memorial to Thomas J. Sullivan 
by John J. Boyle, Sculptor. Erected in Washing- 
ton, D. C. 

39 



Picture No. 72. 

Bronze Bust "Winifred Holt" by C. Percival 
Dietsch, Sculptor. 

Picture No. 73. 

Bronze Bas-relief, "Cyrus Bussey" by Frank E. El- 
well, Sculptor. Erected in Vicksburg National 
Military Park, Vicksburg, Miss. 

Picture No. 74. 

Bronze Bust, "Abraham Lincoln" by John Ettl, 
Sculptor. 

Picture No. 75. 

Bronze Bas-relief, "Commemorating the Twenty- 
fifth Anniversary of the Botany Worsted Mills" 
by Ulric H. Ellerhusen, Sculptor. Erected in 
Passaic, N. J. 

Picture No. 76. 

Bronze Fountain, "Boy and Turtle" by Sherry E. 
Fry, Sculptor. 

Picture No. 77. 

Bronze Bust, "Henry Clay Work" by Louis Gude- 
brod, Sculptor. 

Picture No. 78. 

Bronze Bas-reliefs, Portraits of "Dickens, Longfel- 
low, Hawthorne, Thackeray, Tennyson and Carlyle" 
by Ralph Goddard, Sculptor. 

Picture No. 79. 

Bronze Recumbent Lions by Eli Harvey, Sculptor. 
Erected on the Eaton Mausoleum, Mt. Pleasant 
Cemetery, Toronto, Canada. 

40 



Picture No. 80. 

Bronze Figure "Fox" by Anne V. Hyatt, Sculptor. 

Picture No. 81. 

Bronze Tablets for Kane County Soldiers' and 
Sailors' Monument, Geneva, Illinois. By Carl A. 
Heber, Sculptor. 

Picture No. 82. 

Bronze Bust of "Colonial Soldier" by H. H. Kitson, 
Sculptor. Erected on Monument, Washington, 
Iowa. 

Picture No. 83. 

Bronze Columbarium, by Ernest Wise Keyser, 
Sculptor. Erected in Baltimore Cemetery, Balti- 
more, Maryland. 

Picture No. 84. 

Bronze Group, "Prometheus" by R. Hinton Perry. 

Picture No. 85. 

Bronze Bas-relief Memorial to James Smithson, 
Founder of Smithsonian Institution by William 
Ordway Partridge, Sculptor. Erected in Smith- 
sonian Institution, Washington, D. C. 

Picture No. 8(i. 

Colossal Bronze Tigers on Piney Branch Bridge, 
Washington, D. C. By A. Phimister Proctor, 
Sculptor. -} <^, H'Ci.flJ^|<: 

Picture No. 87. 

Bronze Statuette, "Evening" by F. W. Ruckstuhl, 
Sculptor. Original in Marlile Placed in the Metro- 
politan Museum of Art. 

41 



Picture No. 88. 

Bronze Figure for Frog Fountain by Janet Scud- 
der, Sculptor. 

Picture No. 89. 

Bronze Figure "Piping Faun" by Victor Salvatore, 
Sculptor. 

Picture No. 90. 

Bronze Bas-relief Memorial to J. Edward Swan- 
strom by Edmond T. Quinn, Sculptor. 

Picture No. 91. 

Bronze Bust, "Dr. Henry Frauenthal" by Jules 
M. Butensky, Sculptor. 

Picture No. 92. 

Bronze Statue, "Confederate Vidette" by George 
Julian Zolnay, Sculptor. Erected in Owensboro, 
Kentucky. 

Picture No. 93. 

Bronze Doors for Union Theological Seminary, New 
York City. By J. Massey Rhind, Sculptor. 

Picture No. 94. 

Bronze Bust "Emily Howard Stowe" by John Lis- 
ney Banks, Sculptor. 

Picture No. 95. 

Bronze Tablets for Witherspoon Monument, Wash- 
ington, D. C. By William Couper, Sculptor. 

Picture No. 96. 

Bronze Bas-relief Portrait "Capt. Charles Vernon 
Gridley." By Max Bachman, Sculptor. Erected 
on Gridley Monument, Erie, Pennsylvania. 

42 



Picture No. 97. 

Bronze Statue of Professor Martin B. Anderson. 
First President of University of Rochester by 
Guernsey INIitchell, Sculptor. Statue Erected on 
Campus, University of Rochester, Rochester, N. Y. 

Picture No. 98. 

Bronze Tablet with Portrait of Christopher Diehl 
by Mahonri Young, Sculptor. Erected in Salt Lake 
City, Utah. 

Picture No. 99. 

Bronze Angel on "Hammer" Monument by Sigurd 
Neandross, Sculptor. Erected in Evergreen Ceme- 
tery, Brooklyn, N. Y. 

Picture No. 100. 

Bronze Tablet, Seniors Golf Tournament by Isabel 
M. Kimball, Sculptor. Erected in the Apawamis 
Club, Rye, N. Y. 

Picture No. 101. 

Bronze Tankard by Enid Yandell, Sculptor. 

Picture No. 102. 

Bronze Statuette of Horse "Tracery" Modeled for 
August Belmont by Jenny von Wildenrath. 

Picture No. 103. 

Bronze Statue "Primitive Marksman" (Indian 
Shooting at Soaring Eagle) by Fernando Miranda, 
Sculptor. This bronze cast is in New York Histori- 
cal Society. 

43 



Picture No. 104. 

Bronze Statue "Falling Gladiator" by Dr. William 
Rimmer. One bronze cast is in Metropolitan Mu- 
seum of Art and one is in the Boston Museum of Fine 
Arts. 

Picture No. 105. 

Bronze Bas-Relief Portraits by Berenice Langton, 
Sculptor. Erected in Lawrence Memorial Hospital, 
New London, Conn. 

Picture No. 106. 

Bronze Portrait Bust of Joseph Pulitzer by F. R. 
Blaschke, Sculptor. Bronze Cast in Joseph Pulitzer 
School for Journalism, Columbia LTniversity. 

Picture No. 107. 

Bronze "Bird Bath Fountain" by Caroline Peddle 
Ball, Sculptor. Erected in Riverside, Illinois. 

Picture No. 108. 

Bronze Fountain Figure "Duck Baby" by Edith 
Barretto Parsons, Sculptor. Erected in Lake For- 
est, Illinois. 

Picture No. 109. 

Bronze Statuette "Off-shore Wind" by Alice Mor- 
gan Wright, Sculptor. 

Picture No. 110. 

Bronze Group "Belgian Horses" by Katharine Un- 
derbill, Sculptor. 

44 



Picture No. 111. 

Bronze Bas-Relief Portraits of Mr. and Mrs. H. C. 
Kelsey by Harriet Frishniuth, Sculptor. 

Picture No. 112. 

Bronze Statuette "Amazon" by Arthur Lee, 
Sculptor. 

Picture No. 11.3. 

Bronze Doors for Mortuary Chapel by Ulysses A. 
Ricci, Sculptor. 

Picture No. 114. 

Bronze Portrait Statuette by Karl H. Gruppe, 
Sculptor. 

Picture No. 115. 

Bas-Relief Tablet With Portrait of Andrew Carne- 
gie by Ora Coltman, Sculptor. 

Picture No. 116. 

Bronze Statuette, "Rocky Mountain Goat" by 
George D. Pratt, Sculptor. 

Picture No. 117. 

Bronze Statuette, "Grizzly Bear" by Charles R. 
Knight, Sculptor. 

Picture No. 118. 

Bronze Statuette of Dog by L. C. Mayer, Sculptor. 

Picture No. 119. 

Bronze Portrait Medallion by Helen Sahler, Sculp- 
tor. 

45 



Picture No. 120. 

Bronze Statuette by Elsa Eimer, Sculptor. 

Pictui-e No. 121. 

Bas- Relief Panel "Power" by John Weichsel, 
Sculptor. 

Picture No. 122. 

Bronze Statuette, "Indian in Canoe" by John Fran- 
cis Brines, Sculptor. 

Picture No. 123. 

Bronze Bas- Relief Tablet by J. E. Roine, Sculptor. 

Picture No. 124. 

Bronze Portrait Bust "Conradin Kreutzer" by R. P. 
Golde, Sculptor. 

Picture No. 125. 

Bronze Portrait Medallion by J. Scott Hartley, 
Sculptor. 

Picture No. 126. 

Bronze Bas-Relief Portrait of Boy by Richard H. 
Recchia, Sculptor. 

Picture No. 127. 

Bronze Statuette "Satyr" by F. Harriman Wright, 
Sculptor. 

Picture No. 128. 

Bronze Bas-Relief Tablets by Harry Lewis Raul, 
Sculptor. Erected on Chester County Soldiers' 
Monument, West Chester, Pa. 

46 



Years ago all the workmen in the Jno. Williams, Inc. 
bronze foundry were foreigners. But the American-born 
sons in following the trade of the fathers combined a he- 
reditary inclination for the work with the American spirit 
of progressiveness and they develojjed into very clever 
workmen. The Williams foundry has taken many New 
York boys as apprentices and trained them to become 
first-class foundrymen. artisans and draughtsmen. 

The last picture in the present series is No. 128 
and I will finish by inviting all who are interested in 
the bronze founders' ancient craft to visit the foundry 
at any time to see the pouring of the molten metal 
and the various activities of the metal-worker in a 
modern bronze foundry. 

In conclusion I venture to hope that I have given 
in this lecture some instructive and perhaps interesting 
information and that because of these words of mine 
the beauty of bronze work will be more appreciated 
than heretofore and the high degree of craftsmanship 
necessary in its production more fully understood. 



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